Warranting further examination is how the nascent philosophical tradition initially spread to this region from its Ionian provenance. Despite numerous ancient attestations that Parmenides of Elea was influenced, or even directly instructed, by the Ionian-born Xenophanes, many modern scholars remain skeptical of this historical association. The extent of this skepticism ranges from cautious uncertainty to outright denial of any historical plausibility. The skeptical grounds similarly vary, from distrusting the historical veracity of late and/or perhaps biased commentators, to understanding these thinkers (...) as involved in radically different projects. This essay aims to challenge the skeptical position, and establish a direct link disseminating Ionian philosophy to Magna Graecia via Xenophanes and Parmenides. The argument is straightforward. First, the ancient geographical and temporal evidence is noted, establishing that it was possible for Parmenides to have been influenced and/or taught by Xenophanes. Next, the metaphysical and epistemological parallels between these thinkers are considered. Despite notable differences, on balance, these close parallels suggest against the skeptical view, making it quite plausible to impute a direct intellectual link between these thinkers. Third, I consider ancient claims that both thinkers were engaging with religious topics, offering a sort of “rational theology.” This evidence for a close intellectual relationship between these thinkers has been entirely ignored by modern scholars, and orthodox interpretative models cannot readily provide a charitable explanation for them. However, by reconsidering the theistic content in Parmenides’s poem, a new interpretative approach is revealed which can. Once this evidence is considered in its totality, the case for imputing a close and direct intellectual heritage from Xenophanes to Parmenides proves quite substantial. (shrink)

This paper analyzes the ethical themes and theory portrayals by particular characters in Star Trek: Into Darkness. It is concluded that the film can be understood as explicating the pros and cons of both "male" and "female" ethical perspectives, and that a comprehensive understanding of morality requires some synthesis of both perspectives.

Evidence for a Parmenidean influence on Plato’s Republic typically focuses on content from Bks. V-VI, and the development of Plato’s Theory of Forms. This essay aims to suggest that Plato’s censorship of poetic content in Bks. II-III—particularly the rules for portraying divine nature (376e-383c)—also draw heavily upon the Eleatic tradition, particularly Parmenides’s. Identifying this further Eleatic influence will be enhanced by my own reading of Parmenides. This reading advocates understanding Parmenides in a more Xenophanean-vein—i.e. by taking What-Is to be an (...) explication of the essential qualities of divine nature, and the overall poem as rejecting traditional, mythopoetic accounts of divinity. Recognizing this Eleatic influence on the censorship of poetic content, a tension arises. For Plato infamously censors poetic styles next, concluding that mimetic dialogue may only be rarely employed, and only then in imitation of virtuous persons and actions (392c-398b). This would entail banning all poetic works relying exclusively on mimetic dialogue. Yet, not only do Plato’s own dialogues entirely consist of mimetic dialogue, so does Parmenides’s proto-dialogue. Furthermore, by so closely imitating Parmenides’s thought and language in Republic, has not Plato himself engaged in a type of intellectual and compositional mίμησις? Just as it would be strange to ban the very dialogue (Republic) which outlines and justifies Kallipolis in the first place, it would also be troubling to ban a philosophical work (i.e. Parmenides’s poem) which Republic is so heavily indebted to. Such a ban would also seem strongly at odds with Plato’s general reverence for Parmenides. In an attempt to address these tensions, I suggest that in Republic II-III, Plato’s lack of concern for banning philosophical works along with mimetic poetry should further suggest that he intends the ban to be far narrower than it first appears: as a rejection of performative, rather than compositional, mίμησις. (shrink)

This essay explicates the primary interpretative import of B1: 31-32 in Parmenides poem (On Nature)—lines which have radical implications for the overall argument, and which the traditional arrangement forces into an irreconcilable dilemma. I argue that the “negative” reading of lines 31-32 is preferable, even on the traditional arrangement. This negative reading denies that a third thing is to be taught to the reader by the goddess—a positive account of how the apparent world is to be “acceptably” understood. I then (...) suggest that a rearrangement of the fragments would make more sense overall, while further supporting the “negative” reading as more natural and coherent. In particular, the rearrangement dispels the objection that, “if mortal opinions were not true, why would Parmenides include such a lengthy false account of the apparent world--an account which explicitly denies the conclusions of the earlier section, Truth?”. (shrink)

Mimesis can refer to imitation, emulation, representation, or reenactment - and it is a concept that links together many aspects of ancient Greek Culture. The Western Greek bell-krater on the cover, for example, is painted with a scene from a phlyax play with performers imitating mythical characters drawn from poetry, which also represent collective cultural beliefs and practices. One figure is shown playing a flute, the music from which might imitate nature, or represent deeper truths of the cosmos based upon (...) Pythagorean views (which were widespread in Western Greece at the time). The idea that mimesis should be restricted to ideals was made famous by Plato (whose connections to Pythagoreanism and Siracusa are well-known), and famously challenged by his student Aristotle (not to mention by the mimetic character of Plato’s own poetry). This volume gathers essays not only on the philosophical debate about mimesis, but also on its use in architecture, drama, poetry, history, music, ritual, and visual art. The emphasis is on examples from Hellenic cities in Southern Italy and Sicily, but the insights apply far beyond – even to modern times. Contributors include: Thomas Noble Howe, Francisco J. Gonzalez, Gene Fendt, Guilherme Domingues da Motta, Jeremy DeLong, Carolina Araújo, Marie-Élise Zovko, Lidia Palumbo, Sean Driscoll, Konstantinos Gkaleas, Anna Motta, Jure Zovko, Alexander H. Zistakis, Christos C. Evangeliou, Dorota Tymura, Iris Sulimani, Elliott Domagola, Jonah Radding, Giulia Corrente, Laura Tisi, Ewa Osek, Argyri G. Karanasiou, Rocío Manuela Cuadra Rubio, Jorge Tomás García, Aura Piccioni, and José Miguel Puebla Morón. (shrink)

The primary interpretative challenge for understanding Parmenides’ poem revolves around explaining both the meaning of, and the relationship between, its two primary sections: a) the positively endorsed metaphysical arguments which describe some unified, unchanging, motionless, and eternal “reality”, and b) the ensuing cosmology, which incorporates the very principles explicitly denied in Aletheia. I will refer to this problem as the “A-D Paradox.” I advocate resolving this paradoxical relationship by reading Parmenides’ poem as a ring-composition, and incorporating a modified version of (...) Palmer’s modal interpretation of Aletheia. On my interpretation, Parmenides’ thesis in Aletheia is not a counter-intuitive description of how all the world must truly be, but rather a radical rethinking of divine nature. Understanding Aletheia in this way, the ensuing “cosmology” can be straightforwardly rejected as an exposition of how traditional, mythopoetic accounts have misled mortals in their understanding of divinity. Not only does this interpretative view provide a resolution to the A-D Paradox, it offers a more holistic account of the poem by making the opening lines of introduction integral to understanding Parmenides’ message. By setting forth its own unacceptable fiction, paralleling the elements of the Doxa in a ring-composition, the Proem simultaneously establishes the scope of the ensuing inquiry, and its target. Maintaining Parmenides’ historical position as the “father of metaphysics,” the narrative that he advanced a strictly secular account of all reality is challenged. Instead, Parmenides is best understood as further advancing Xenophanes’ criticisms of traditional religion, an intellectual relationship which the ancient testimonia strongly supports. (shrink)

In Van Cleve's "Problems from Kant," it is suggested that his interpretation of Kant's metaphysics resolves the problem of "The Neglected Alternative"--the worry that Kant failed to consider that space and time, while perhaps necessary for sensible intuition, could also be objectively real in-themselves. However, it is far from clear how Van Cleve is supposed to have solved this objection. This paper examines why Van Cleve might have thought the problem resolved on his view, and argues that there is no (...) reason to think the problem has in fact been resolved. (shrink)